Musical beds is the faculty sport around here.

I think I sit down to the typewriter when it's time to sit down to the typewriter. That isn't to suggest that when I do finally sit down at the typewriter, and write out my plays with a speed that seems to horrify all my detractors and half of my well-wishers, that there's no work involved. It is hard work, and one is doing all the work oneself.

Usually, the way I write is to sit down at a typewriter after that year or so of what passes for thinking, and I write a first draft quite rapidly. Read it over. Make a few pencil corrections, where I think I've got the rhythms wrong in the speeches, for example, and then retype the whole thing. And in the retyping I discover that maybe one or two more speeches will come in. One or two more things will happen, but not much.

Arthur Miller once payed me a great compliment saying that my plays were 'necessary.' I will go one step further and say that Arthur's plays are 'essential'

The ultimate judgment of a work of art, whether it be a masterpiece or a lesser event, must be solely in terms of its artistic success and not on Freudian guesswork.

If you intellectualize and examine the creative process too carefully it can evaporate and vanish. It's not only terribly difficult to talk about, it's also dangerous.

I imagine as an axiom you could say that the better the play, the less "creativity" the director need exert.